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Journal articles on the topic 'Electronic and guitar music'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

Schwartz, Jeff. "Writing Jimi: rock guitar pedagogy as postmodern folkloric practice." Popular Music 12, no. 3 (1993): 281–88. http://dx.doi.org/10.1017/s0261143000005729.

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Most instruction in electric guitar, bass guitar, drums and electronic keyboards is conducted on a one-to-one basis by uncertified, independent teachers. The lessons are face-to-face, and based on the student's imitation of the teacher's example. Popular music education is a ‘little tradition’ (in comparison to school music departments) and largely an oral one, thus meeting the usual criteria of folk cultures.

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2

Djatmiko, Sigit. "FENOMENOLOGI MUSIK." Dharmasmrti: Jurnal Ilmu Agama dan Kebudayaan 15, no. 28 (2016): 108–13. http://dx.doi.org/10.32795/ds.v15i28.63.

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The Kraftwerk music group from Dusseldorf, Germany, began to be famous since 1974. The prominent feature of the Kraftwerk is that they were trying to be the pioneer of the alteration from the acoustic and electric music into the electronic music. Their mission was dehumanizing the music to produce impersonal sounds and with the “musicians” which would rather be considered as machine tools than as human. The works of the Kraftwerk arguably became the blueprint for the sort of avantgarde music, the prototype for kinds of music that celebrated the shift from the sounds of the guitar strings and the human vocal into the sounds of strum combination. In sum, the main aim of the Kraftwerk was to fully merge with the technology, to stop playing the instruments, and let the instruments play themselves.

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3

Kovalenko, Anatoliі. "DEVELOPMENT OF UKRAINIAN GUITAR EDUCATION IN THE CONDITIONS OF DISTANCE LEARNING." Academic Notes Series Pedagogical Science 1, no. 190 (2020): 100–104. http://dx.doi.org/10.36550/2415-7988-2020-1-190-100-104.

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The article reveals the positive and negative aspects of the development of domestic guitar education in terms of distance learning. Applying the methods of historical and pedagogical analysis and a systematic approach, the recommendations of the Ministry of Education and Science of Ukraine were analyzed, which considered this area of development of the educational process and scientific works of guitar researchers. It is determined that the standards of higher education in the specialty 025 «Musical Arts» do not specify the quality of computer and software. It has been found that students, teachers, and heads of educational institutions from time to time face the issue of updating computer equipment to implement a quality educational process. It is proved that when using the software «Zoom» or «Skype» for group practical classes, a small error in the work of the Internet can lead to desynchronization in the work of the music group. It is highlighted that professions related to training, individual services, and creativity will remain relevant, as they cannot be replaced by automated systems even with the use of artificial intelligence; «the introduction of distance learning tools in schools is positive, in particular the use of the Microsoft Teams for Education Center, which includes the following options: downloading materials, storing and sharing them; possibility to add electronic textbooks / educational games; placement of announcements, digests for all participants of the educational process», etc.; negative aspects of the development of domestic guitar education in terms of distance learning are the lack of live contact between teacher and student, the inability to visually adjust the performance movements (left and right hand, artistic gestures, etc.); the ability of the mentor to remove the mental and physiological clamp from the performer is lost; slow internet connection speed and low quality of computer components can hinder a quality educational process and others. In terms of distance learning, domestic guitar education has changed the vector of its development. Users of Internet resources became the target audience of performing guitar art, and music education of guitarists received new opportunities for improvement. However, there are still factors that hinder the full implementation of positive changes. We consider the following to be the main ones: the lack of live communication between the teacher and the student, the unstable speed of the Internet connection in some regions of Ukraine and the low quality of computer components among some participants in the educational process.

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4

Afdhal, Muhammad. "“REPUBLIKEN” MENYATU DALAM PERBEDAAN." Imaji 17, no. 1 (2019): 66–73. http://dx.doi.org/10.21831/imaji.v17i1.25736.

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Republiken adalah penganut ketatanegaraan yang berbentuk republik. Istilah Republiken menunjukkan suatu kesatuan masyarakat yang berbangsa dan berdaulat. Republiken dalam kaitannya dengan karya seni ini adalah suatu bentuk semangat berbangsa melalui seni, dalam hal ini musik, menunjukkan bahwa perbedaan ras atau suku bukanlah masalah untuk bangsa Indonesia menjadi semangat yang satu. Karya komposisi musik yang berjudul “Republiken”, diharapkan dapat menunjukkan semangat berbangsa melalui beberapa karakteristik musik-musik nusantara yang diekspresikan melalui EDM atau Elektronik Dance Music yang merupakan sebuah rumah besar untuk genre-genre musik, seperti disco, dupstep dan sebagainya, karena sebagian alat musiknya menggunakan alat-alat elektronik seperti gitar elektrik, keyboard, synthesiezer dan lauchpad yang dewasa ini menjadi alat musik yang banyak digunakan dalam penciptaan musik EDM “REPUBLIKEN” UNITES IN DIFFERENCESAbstractRepubliken are followers of republic constitutions. The term Republiken shows a united nation and sovereign community. In relation to this work of art, Republiken is a form of nationalism spirit through art—in this case music—showing that racial or ethnic differences are not a problem for Indonesian people to be one spirit. The music composition works entitled "Republiken", are expected to show the spirit of nationalism through several characteristics of archipelago music expressed through EDM or Electronic Dance Music which is a big house for music genres, such as disco, dupstep and so on, because some of the music tools uses electronic devices like electric guitars, keyboards, synthesizers and lauchpads which today are a musical instrument that is widely used in EDM music creation

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5

Byambatsogt, Gerelmaa, Lodoiravsal Choimaa, and Gou Koutaki. "Guitar Chord Sensing and Recognition Using Multi-Task Learning and Physical Data Augmentation with Robotics." Sensors 20, no. 21 (2020): 6077. http://dx.doi.org/10.3390/s20216077.

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In recent years, many researchers have shown increasing interest in music information retrieval (MIR) applications, with automatic chord recognition being one of the popular tasks. Many studies have achieved/demonstrated considerable improvement using deep learning based models in automatic chord recognition problems. However, most of the existing models have focused on simple chord recognition, which classifies the root note with the major, minor, and seventh chords. Furthermore, in learning-based recognition, it is critical to collect high-quality and large amounts of training data to achieve the desired performance. In this paper, we present a multi-task learning (MTL) model for a guitar chord recognition task, where the model is trained using a relatively large-vocabulary guitar chord dataset. To solve data scarcity issues, a physical data augmentation method that directly records the chord dataset from a robotic performer is employed. Deep learning based MTL is proposed to improve the performance of automatic chord recognition with the proposed physical data augmentation dataset. The proposed MTL model is compared with four baseline models and its corresponding single-task learning model using two types of datasets, including a human dataset and a human combined with the augmented dataset. The proposed methods outperform the baseline models, and the results show that most scores of the proposed multi-task learning model are better than those of the corresponding single-task learning model. The experimental results demonstrate that physical data augmentation is an effective method for increasing the dataset size for guitar chord recognition tasks.

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6

Freire, Sérgio, Geise Santos, Augusto Armondes, Eduardo A. L. Meneses, and Marcelo M. Wanderley. "Evaluation of Inertial Sensor Data by a Comparison with Optical Motion Capture Data of Guitar Strumming Gestures." Sensors 20, no. 19 (2020): 5722. http://dx.doi.org/10.3390/s20195722.

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Computing technologies have opened up a myriad of possibilities for expanding the sonic capabilities of acoustic musical instruments. Musicians nowadays employ a variety of rather inexpensive, wireless sensor-based systems to obtain refined control of interactive musical performances in actual musical situations like live music concerts. It is essential though to clearly understand the capabilities and limitations of such acquisition systems and their potential influence on high-level control of musical processes. In this study, we evaluate one such system composed of an inertial sensor (MetaMotionR) and a hexaphonic nylon guitar for capturing strumming gestures. To characterize this system, we compared it with a high-end commercial motion capture system (Qualisys) typically used in the controlled environments of research laboratories, in two complementary tasks: comparisons of rotational and translational data. For the rotations, we were able to compare our results with those that are found in the literature, obtaining RMSE below 10° for 88% of the curves. The translations were compared in two ways: by double derivation of positional data from the mocap and by double integration of IMU acceleration data. For the task of estimating displacements from acceleration data, we developed a compensative-integration method to deal with the oscillatory character of the strumming, whose approximative results are very dependent on the type of gestures and segmentation; a value of 0.77 was obtained for the average of the normalized covariance coefficients of the displacement magnitudes. Although not in the ideal range, these results point to a clearly acceptable trade-off between the flexibility, portability and low cost of the proposed system when compared to the limited use and cost of the high-end motion capture standard in interactive music setups.

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7

Criswick, Mary, and Wolf Moser. "Guitar Music." Musical Times 127, no. 1720 (1986): 443. http://dx.doi.org/10.2307/965165.

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8

Stimpson, Michael. "Guitar Music Surveyed." British Journal of Music Education 6, no. 3 (1989): 328–29. http://dx.doi.org/10.1017/s0265051700007373.

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9

Criswick, Mary. "Guitar." Musical Times 128, no. 1733 (1987): 392. http://dx.doi.org/10.2307/964544.

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10

Wade, Graham. "Guitar." Musical Times 129, no. 1744 (1988): 306. http://dx.doi.org/10.2307/964893.

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11

Wade, Graham. "Guitar." Musical Times 131, no. 1767 (1990): 273. http://dx.doi.org/10.2307/966167.

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12

Criswick, Mary. "Guitar Songs." Musical Times 126, no. 1703 (1985): 33. http://dx.doi.org/10.2307/962449.

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13

Criswick, Mary, and Werner Schwarz. "Guitar Selection." Musical Times 126, no. 1708 (1985): 350. http://dx.doi.org/10.2307/964035.

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14

Criswick, Mary. "Guitar Plus." Musical Times 127, no. 1723 (1986): 567. http://dx.doi.org/10.2307/964402.

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15

Wade, Graham. "Guitar Duos." Musical Times 129, no. 1745 (1988): 349. http://dx.doi.org/10.2307/964753.

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16

Criswick, Mary. "Guitar Plus." Musical Times 128, no. 1731 (1987): 277. http://dx.doi.org/10.2307/965129.

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17

Criswick, Mary. "Guitar Duets." Musical Times 126, no. 1714 (1985): 737. http://dx.doi.org/10.2307/965210.

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18

Harris, Colette, and Meredith Alice McCutcheon. "Guitar, Vihuela." Musical Times 127, no. 1720 (1986): 390. http://dx.doi.org/10.2307/965247.

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19

Wade, Graham. "Contextualized Guitar." Musical Times 132, no. 1783 (1991): 449. http://dx.doi.org/10.2307/965651.

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20

Criswick, Mary. "Flute and Guitar." Musical Times 126, no. 1705 (1985): 163. http://dx.doi.org/10.2307/961677.

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21

Wade, Graham. "The Blue Guitar." Musical Times 130, no. 1761 (1989): 691. http://dx.doi.org/10.2307/1193802.

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22

Thomson, Andrew, Maurice Ohana, and Stephan Schmidt. "Works for Guitar." Musical Times 135, no. 1816 (1994): 398. http://dx.doi.org/10.2307/1003237.

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23

Duarte, John W. "Guitar on Record." Musical Times 132, no. 1777 (1991): 138. http://dx.doi.org/10.2307/965827.

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24

Wade, Graham. "Landscape with Guitar." Musical Times 132, no. 1780 (1991): 296. http://dx.doi.org/10.2307/966538.

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25

Criswick, Mary. "19th-Century Guitar." Musical Times 127, no. 1722 (1986): 502. http://dx.doi.org/10.2307/964602.

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26

Criswick, Mary. "20th-Century Guitar." Musical Times 127, no. 1726 (1986): 695. http://dx.doi.org/10.2307/964679.

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27

Criswick, Mary. "20th-Century Guitar." Musical Times 128, no. 1734 (1987): 442. http://dx.doi.org/10.2307/965019.

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28

Criswick, Mary. "Voice and Guitar." Musical Times 127, no. 1719 (1986): 341. http://dx.doi.org/10.2307/965088.

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29

Criswick, Mary. "East European Guitar." Musical Times 127, no. 1717 (1986): 156. http://dx.doi.org/10.2307/965503.

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30

Duarte, John, and Mauro Giuliani. "Abundance for Guitar." Musical Times 132, no. 1776 (1991): 81. http://dx.doi.org/10.2307/966603.

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31

Segan, Marc H., and Michael Newsome. "Electronic guitar." Journal of the Acoustical Society of America 93, no. 1 (1993): 594–95. http://dx.doi.org/10.1121/1.405587.

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32

Crump, Matthew J. C., Gordon D. Logan, and Jerry Kimbrough. "Keeping an Eye on Guitar Skill: Visual Representations of Guitar Chords." Music Perception 30, no. 1 (2012): 37–47. http://dx.doi.org/10.1525/mp.2012.30.1.37.

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we investigate a role for vision in skilled guitar playing, focusing on visual contributions to the representation of basic first-position root chords (C, A, G, E, D). Experiment 1 involved naming or playing guitar chords displayed in different visual formats (letter, photograph, chart) and orientations. Experiment 2 employed a Stroop-like design, involving identification of the visual or auditory dimension for congruent or incongruent pairs of chord photographs and sounds. Our results demonstrate that visual representations of guitar chords are orientation sensitive and associated with their corresponding actions and sounds. We discuss the implications of our findings for understanding the multimodal nature of musical skill, and consider how the format of visual information can impact acquisition of musical skill.

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33

Anindita Roy Chowdhury and Naresh Sharma. "Scientific Numerical Pattern in Stringed-Fretted Musical Instrument." Mathematical Journal of Interdisciplinary Sciences 8, no. 2 (2020): 69–74. http://dx.doi.org/10.15415/mjis.2020.82009.

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Music, a creative art has a strong foundation on science and mathematics. Source of music can vary from vocal chord to various types of musical instruments. One of the popular stringed and fretted musical instrument, the guitar has been discussed here. The structure of the guitar is based on mathematical and scientific concepts. Harmonics and frequency play pivotal role in generation of music from a guitar. In this paper, the authors have investigated various factors related to the structure of a guitar. Aspects related to the musical notes of a guitar have been analyzed to gain a better insight into the mathematical pattern involved in the music of a guitar.

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34

Finkelshtein, Yulia A. "Igor Stravinsky and Academic Guitar Music." Observatory of Culture, no. 1 (February 28, 2015): 40–45. http://dx.doi.org/10.25281/2072-3156-2015-0-1-40-45.

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Presents the results of the study in classical guitar music by Stravinsky. The author considers three pieces by Stravinsky where he used guitar and his transcription of the “Four Russian songs” suite (version of 1953-1954) that included a guitar part. The specificity of interpretation of the tone quality, the instrument capabilities in Stravinsky’s understanding and the features of composer’s style apparent in this music cycle are revealed. The author also focuses on the bell ringing effects that are particular of the piece.

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35

McKenzie, Don, Michael Tippett, and Julian Bream. "The Blue Guitar: Sonata for Solo Guitar." Notes 43, no. 1 (1986): 182. http://dx.doi.org/10.2307/897866.

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36

Bell, Adam Patrick. "Guitars have disabilities: exploring guitar adaptations for an adolescent with Down syndrome." British Journal of Music Education 31, no. 3 (2014): 343–57. http://dx.doi.org/10.1017/s026505171400028x.

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The guitar has a high value in cultural capital and we are immersed in a culture in which the guitar is the predominant vehicle of music-making. Given the guitar's mass popularity, it follows that the guitar-learning community is vast and diverse. Subscribing to the social model of disability, I problematise the guitar as being disabled and conducted an instrumental case study using the ethnographic tools of video-based observation, field notes and a semi-structured interview to chronicle the experience of teaching an adolescent with Down syndrome how to play the guitar. Different approaches to enabling the guitar are examined including open-tuning, standard tuning and a modified two-string guitar. Findings discuss the importance of the guitar to the participant as a percussive and rhythmic instrument and additionally as support for singing in the context of jamming.

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37

Mantasa, Dedi, and Yos Sudarman. "PENGGUNAAN APLIKASI BASIC GUITAR CHORDS 3D PADA PEMBELAJARAN SENI BUDAYA (MUSIK) DI KELAS VII SMP NEGERI 3 KECAMATAN HARAU." Jurnal Sendratasik 9, no. 3 (2020): 41. http://dx.doi.org/10.24036/jsu.v9i1.109436.

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AbstractThis study aims to describe the activities of Culture and Arts (music) teachers in grade VII of SMP Negeri 3 Harau District, Lima Puluh Kota Regency in implementing music instruction using the Basic Guitar Chords 3D application for learning guitar at school. The use of this guitar playing application provides an opportunity for students to learn guitar playing virtually with a different learning atmosphere from how guitar learning was theoretically and practically conducted before.This study uses references to results from relevant research and several theoretical studies especially those related to learning and instruction, learning methods, guitar learning through application, and Culture and Arts (music) instruction in junior high school.This is a qualitative research with a descriptive analysis approach. The object of research was teachers’ activities in implementing music instruction in grade VII of SMP Negeri 3 Harau. The learning observed involves learning guitar under the topic of playing a string instrument in a musical ensemble. The research instruments used were observation notes, interview notes, and document studies. The results of the study explain that learning guitar using the Basic Guitar Chords 3D application can create new experiences for students in learning music using the android application. However, due to the fact that the use of this application coincides with learning musical ensembles under the Basic Competence of playing simple music, this application conceptually does not support learning musical ensembles by using actual musical instruments.However, the teachers’ thought to explain that playing music can be done through application surely gives a point, and it can be developed by the teachers in learning music at school.Keywords: Android application, guitar, learning, instruction, ensemble

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38

Filatova, Tetiana. "Chilean Guitar Music: Violeta Parra’s “Anticuecas”." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 129 (October 27, 2020): 232–50. http://dx.doi.org/10.31318/2522-4190.2020.129.219741.

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39

Stimpson, Michael. "The Guitar in English Music Education." British Journal of Music Education 2, no. 1 (1985): 51–67. http://dx.doi.org/10.1017/s0265051700004605.

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The development of the guitar in the twentieth century has been sufficiently significant to warrant inclusion at all levels of music education. This article considers the extent and manner of its educational involvement and questions whether the response to the instrument has reflected its true potential.

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40

Santos, Silvio Jose dos. "Guitar Music Composed for Segovia (review)." Notes 63, no. 1 (2006): 201–7. http://dx.doi.org/10.1353/not.2006.0116.

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41

Provost, Richard, and Kerry Arlt. "Music for Guitar and String Quartet." American String Teacher 37, no. 1 (1987): 58–60. http://dx.doi.org/10.1177/000313138703700118.

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42

Oltman, Laura, and Michael Newman. "Introducing Guitar Students to Chamber Music." American String Teacher 39, no. 2 (1989): 53–54. http://dx.doi.org/10.1177/000313138903900216.

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43

Bonanno, Carmine. "Guitar controller for a music synthesizer." Journal of the Acoustical Society of America 82, no. 5 (1987): 1864. http://dx.doi.org/10.1121/1.395729.

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44

Bonanno, Carmine. "Guitar controller for a music synthesizer." Journal of the Acoustical Society of America 83, no. 5 (1988): 1995. http://dx.doi.org/10.1121/1.396416.

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45

Wright, David, and David Starobin. "New Music with Guitar, Vol. 4." Musical Times 133, no. 1789 (1992): 134. http://dx.doi.org/10.2307/966448.

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46

Robertson, A. "Results of Medical and Hospice Music Therapy Internship Directors’ Views of Advanced Guitar Skills Needed for Interviews." Music Therapy Perspectives 38, no. 2 (2019): 205–9. http://dx.doi.org/10.1093/mtp/miz022.

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Abstract The purpose of this study was to determine which guitar skills beyond the American Music Therapy Association (AMTA) functional guitar skill competencies are important for prospective music therapy interns to perform during the medical and hospice music therapy interview process. Participants (n = 32) for this study were medical or hospice music therapy internship supervisors from AMTA approved and university-affiliated internship sites that were asked to rate eight advanced guitar skills on their importance during the internship interview process. Of the 64 internship directors to whom the survey was sent, 32 (50%) participants representing five of the seven AMTA regions responded. The majority of internship directors (94%) reported the guitar as the primary instrument for therapy at their facility. Results indicated that four of the eight advanced guitar skills in question were considered important for interns to perform during the interview process, suggesting students should learn these advanced skills before applying to a medical or hospice music therapy internship. These findings are consistent with previous research suggesting the use of advanced guitar skills to meet musical demands within contemporary music therapy practice.

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47

Herbst, Jan-Peter. "Distortion and Rock Guitar Harmony." Music Perception 36, no. 4 (2019): 335–52. http://dx.doi.org/10.1525/mp.2019.36.4.335.

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Research on rock harmony accords with common practice in guitar playing in that power chords (fifth interval) with an indeterminate chord quality as well as major chords are preferred to more complex chords when played with a distorted tone. This study explored the interrelated effects of distortion and harmonic structure on acoustic features and perceived pleasantness of electric guitar chords. Extracting psychoacoustic parameters from guitar tones with Music Information Retrieval technology revealed that the level of distortion and the complexity of interval relations affects sensorial pleasantness. A listening test demonstrated power and major chords being perceived as significantly more pleasant than minor and altered dominant chords when being played with an overdriven or distorted guitar tone. This result accords with musical practice within rock genres. Rather clean rock styles such as blues or classic rock use major chords frequently, whereas subgenres with more distorted guitars such as heavy metal largely prefer power chords. Considering individual differences, electric guitar players rated overdriven and distorted chords as significantly more pleasant. Results were ambiguous in terms of gender but indicated that women perceive distorted guitar tones as less pleasant than men. Rock music listeners were more tolerant of sensorial unpleasant sounds.

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48

Kovalenko, A. S. "Historical background to establishment of the national instrumental guitar education in the context of music education development." Musical art in the educological discourse, no. 2 (2017): 86–91. http://dx.doi.org/10.28925/2518-766x.20172.8691.

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The article highlights the historical background to establishment of national instrumental guitar education in the context of music education development. We consider historical events that have influenced the dynamics of the formation of competencies of guitar education in Ukraine. Based on the analysis of the scientific literature the author shows that guitar education in Ukraine is a relatively new phenomenon. It is examined historical preconditions of the development of national guitar education in the context of three periods of development of music education. During the first period, guitar education is not systemic. Guitar playing is popular among Lviv seminarians and as home performance. The second period is characterized by the fact that guitar art emerges from the global crisis, which has been reflected in national performance and pedagogy. Playing the guitar attracts the attention of professional musicians; it is examined performance abilities of the instrument, its structure and repertoire. During this period, guitar education acquires systemic features. The performance of the guitar players improves significantly, and the repertoire is replenished with the best examples of world classical music. The third period is characterized by intensification of competitive activity in the field of guitar performance. A guitar class appears in the Kyiv Conservatory. In postwar times, the development of guitar performances is influenced by the political situation and sensorship. Besides, the third period is characterized by the flowering of national performers’ schools, the intensification of international relations with foreign guitar performers and educators, which is the basis for the establishment and development of national instrumental guitar education.

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49

Jensen, Richard d'A. "The Guitar and Italian song." Early Music 13, no. 3 (1985): 376–83. http://dx.doi.org/10.1093/earlyj/13.3.376.

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50

Morris, Geoffrey. "The modern guitar in Australia." Contemporary Music Review 21, no. 1 (2002): 13–22. http://dx.doi.org/10.1080/07494460216640.

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